Communication Is Key

I know I have spoken some about this before regarding art submissions, but I cannot even begin to state how absolutely necessary it is that the lines of communication are open between the artist and those representing him/her (agents, galleries, museums, groups...). It bespeaks a lack of professionalism when either (or worse, both) are ill-informed of changes, and those changes may not be able to be invoked or adapted to the later they are known.

As an artist, one should respect those representing him/herself and inform them of the availability of artworks and of his/her own availability (for receptions and other events). If you cannot adhere to the rules as outlined beforehand, then that group, institution or organization deserves to know up front. If you have sold a piece since submitting it to a show, inform the curators or gallery owners ASAP - don't wait until it has been juried into the show to do so. If you inquire up front, you can build a rapport and may be able to substitute another entry. Better yet, avoid simultaneous submissions so to not have to confront these situations at all.

Likewise, if you represent an art organization or an institution, such as a gallery or museum, please comply by your own rules and regulations concerning the showing of art. Do not make exceptions for anyone. (If you do, others will likely want exceptions to be made for themselves or will complain that the rules were broken.) If changes are made, inform the artists as soon as possible so that they can make revisions to their schedules and plans. I realize that changes happen and that sometimes things go out incorrectly, but it is best to let everyone know ASAP so that artists can adapt. And don't assume anything is common knowledge, especially if it wasn't spelled out beforehand. (For example, artists unfamiliar with the gallery may not know that openings occur on the first Friday of every month, even for two-month exhibitions.)

As an artist, I have been involved in numerous exhibitions that were poorly organized, and not just at the grassroots level. This is a huge turnoff to me and, when confronted by it, I may decide not to work with particular groups or to be involved in what they are doing (even if it is a worthy cause or goal that I would otherwise support) solely because I don't want to deal with the hassle. And I tend to be rather forgiving and to try not to badmouth anyone - other artists will not show the same courtesy, especially if they feel as if they were taken advantage of or that they were treated inconsiderately. I know from working behind the scenes that sometimes chaos can ensue and that unexpected snags can and do occur, but I really do think it is best when the institution or group does what it can to minimize this by addressing those issues as they arise before they balloon into monstrous problems.

More than anything, we should all try to better communicate. Sometimes there is an awkwardness of not wanting to seem overly pushy or insistent, especially when a gallery has stated that it does not want for artists to contact it about submissions. But the artist has to really weigh the consequences - one can be even less considerate and can worsen the situation by holding out on information that is desperately needed and by not informing those with whom they are working of any changes made. Likewise, gallery representatives and groups need to communicate better with the artists that they serve so that they do not alienate those artists and so that those artists can meet (and even exceed) their expectations.